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Thursday, April 2, 2015

Unreal City - il Paese Del Tramonto

2015 is off to an amazing start. Amazing bands and artists
from the realms of Steven Wilson, Beardfish, La Coscienza Di Zeno, Sanguine
Hum, and Alco Frisbass to name a few, are the names that have got the wheel on
the wagon rolling. Now the wagon is ready for another adventure and this time
its Unreal City’s turn to shine.

Since their formation seven years ago in Parma, Unreal City
are the real deal in the Italian Progressive Rock sound that are following in
the footsteps of the masters and show no sign of stopping after the release of
their debut album back in 2013 called, La
Crudelta di Aprile. This year, they are back with a follow up to their
debut with an album entitled, il Paese
Del Tramonto in which it translates to, The
Country Sunset.

I’ve always been a huge fan of the Italian Progressive Rock
sound from bands like; Le Orme, Banco, PFM, Not a Good Sign, Metamorfosi, and
Museo Rosenbach to name a few. When I first heard Unreal City’s music two years
ago when I was in College, I was completely on the edge of my seat with my
eyebrows widening up being in awe and touched of what they have brought to the
table.

The classical sounds, the British and Italian Prog
inspirations, and the Symphonic elements throwing in, almost made it sound like
they were doing a score for a movie. From beginning to the end, il Paese Del Tramonto is the
continuation, but more for a movie as if they had done to set for both of the
directors in the realms between Dario Argento and Lucio Fulci while Fabio
Frizzi conducts the group and in awe of what they are doing.

Opening, Ouverture:
Obscurus fio starts with backward tapes that increases the void followed by
a synth to capture it and the piano comes in with a concerto-like introduction
followed by a string section. And the drums, Mellotron, and Bass come knocking
the door down as the rhythm begins along with a Guitar chord and Moog solo. It
has this epic-like introduction and a surreal tone that captures the essence of
Pink Floyd, ELP, and Banco Del Mutuo Sorcosso’s Darwin-era.

And then it segues into Oniromanzia
(il Paese del Tramonto) in which the choir mellotron plays the same melody
followed by drums, church organ and guitar. It has this wonderful reminiscent
of Goblin that Unreal City pay tribute to for an introduction with the spooky
sounds that Tarasconi does. And the keyboards just go into some improvisations
with an amazing Hammond solo and the synths also. I have to admit, Unreal City
have shown a lot in their sounds.

The ominous Caligari
begins with a sinister and haunting atmospheric introduction. Francesca
Zanetta’s guitar sets the tone in a style of Mike Oldfield’s Tubular Bells as Emanuele’s keyboards go
into a ghostly vibe and then it has an orchestral ascending roar. It then has a
mid-tempo rhythm with a catchy melody with some unexpected twists until the
very end Zanetta goes into her guitar structures of Robert Fripp-sque finale as
Unreal City pay tribute to the finale of both King Crimson and Murple.

La Meccanica
Dell’ombra has this mind-blowing introduction between Emanuele using both
keyboards and a theremin that kicks off into high gear. It has this combination
between middle-eastern and folk-like melodies thanks to guest violinist Fabio
Biale. Followed by the improvisation solo from Zanetta, Tarasconi, and Bedostri
laying down on the beats on the drums, it has a softer side and then back into
Tarasconi keeping the groove in as he takes his Hammond into the waters to
close it off for an amazing solo finale as the music reaches a climbing end.

Il Nome di Lei has
this interesting combination between Pulsar, Pink Floyd, and Locanda Delle Fate
as Zanetta is in the spirits of David Gilmour with a classical Harpsichord
thrown in while their homage to Deep Purple golden-era on Lo Schermo di Pietra (Kenosis) is a blistering yet driven
composition. I can hear the hard rock, ballad, and intense changes like a car
going at 300 miles per hour that you could imagine Unreal City could have
recorded this back in 1973.

Then we come to the 20-minute 4-part suite, Ex Tenebrae Lux, shows Unreal City their
masterpiece. Various changes between ambient spacey voyages into Jazz-Funk
groove, Vocals, Violin, Organ, Concerto Piano, homage to Gentle Giant, and back
into the harmonic/orchestral rock sounds that gives it a warmth closure at the
last few minutes.

This is Unreal City's finest hour since their debut and I was blown away from the moment I put it on and knowing they have accomplished well.
The Rock Progressivo Italiano scene is getting stronger each time something
special and magical has happened, and Unreal City are one of the most finest
bands to come out the genre. Highly recommended and worth exploring along with
their debut album also.

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About Me

I'm a blogger/freelance writer from Houston, TX who writes album reviews because I enjoy it. Even though, I'm not the best writer, there is no stop sign for me. I have a love of Progressive Rock music, Jazz Fusion, and Early Heavy Metal music from the '60s to the early '80s. I went to HCC (Houston Community College) for nine years and have completed my degree in Music in Performance: Jazz Studies. I've been writing Progressive Rock and Symphonic Metal reviews starting back in 2008 on my blogsite and it never gets old.